Showing posts with label No Anchor. Show all posts
Showing posts with label No Anchor. Show all posts

Monday, 27 October 2008

Eat Laser Scumbag, Violent Soho, Dick Nasty, Turnpike, No Anchor @ Step Inn (24.10.08)

On paper this looks like some sort of dream local lineup... and that's pretty much how it was in actuality - two of Brisbane best noise-rock bands (Turnpike and No Anchor), two of its most respected punk acts (Dick Nasty and ELS) and the city's premiere early 90s revivalists. What more could any volume loving music fan ask for in a local show?

At the start of the night a friend commented that any one of the five bands on the bill could have been headliner and noone would have complained. As it was, No Anchor were the 'unlucky' band who were given the job of opening the evening. At about 8:30PM, with the venue still largely empty, No Anchor took to the stage and began their aural bombardment of the audience. The set contained a mere three songs yet went for around 30minutes - the opening song was a comparatively laid back (for No Anchor) number that sounded somewhat like Kyuss jamming on a multitude of variations of the one riff for 10minutes, the middle track was a more dynamic number with some fantastic riffs, and the closer was probably the heaviest song the band have yet created (which means it's damn heavy). None of the songs were from the band's debut Fire Flood And Acid Mud from a few months back; instead, all three will be featured on a soon to be recorded album set for release in the new year (full disclosure: I recorded No Anchor's debut album and will be doing the same for their next... and damn if I'm not super excited about hearing those songs over and over for a few days).

On the flipside, not everyone seemed so impressed by No Anchor - while the majority of the crowd were totally into the band's crushingly heavy stoner/doom rock, I did see one audience member turn to his friend at the end of the set and remark 'I just don't get it' to his friend.

By the end of No Anchor's set the crowd was starting to swell, and by the time Turnpike hit the stage the room was nicely filled. I'm sure there were a number of people in the audience who thought that Turnpike could have easily headlined this show, and the band put on a performance that I'm sure had a few more people thinking this by the end of their set. I had seen the band play a smaller show the previous week at Club Russia (with Mr Maps), and that show was one of the better that I've seen from Turnpike. Friday's was even better. As is usually the case in the band's sets recently, most of the material was unreleased - I think there was 'Selling This Century' from their split with Del Toro and 'Do The Broken' from Humans Find Patterns, with nothing from prior to that. It didn't really matter, the new songs have been in their sets for long enough that they've become quite familiar to most fans, and the band plays them with such ferocious energy that it wouldn't matter if noone had ever heard them before. Adam King plays with such energy and intensity that it seems a wonder that he's able to fret a single chord, such is the way that his body thrashes around on stage - by the end of the set there would not have been a single square inch of his shirt that wasn't saturated with sweat. Even in the last song, where the strap kept coming off his SG, he barely missed a beat.

Dick Nasty are not a band that I would profess to having an intimate knowledge of - I've seen them around town quite a number of times over the years (what regular indie/punk gig-goer in Brisbane hasn't?) but I don't own any releases of theirs. That said, they're a hugely solid punk band with few peers in this city. Unlike the previous bands, who both preferred extending their songs well past the 6minute mark (I think there had been a total of seven songs performed between the two bands prior), Dick Nasty's set consisted of track after track of short, concise and precisely played punk rock. With two guitarist/singers flanking the supremely tight rhythm section, Dick Nasty blasted through their set like a finely tuned machine (with just the right amount of chaos thrown into the mix).

Violent Soho were the 'name' band of the evening, and this showed in the packed crowd who stood around to watch (though it wasn't long before people were doing much more than merely standing around, with things escalating to a bit of crowd surfing by the end of the set). I have to admit that I don't hold the band in the same esteem as a lot of other local music fans, but there are two things that are fairly inarguable: 1) they can write a damn fine song around an early 90s guitar riff, and 2) they put on a pretty fantastic show. The band pulled out the majority of their crowd-pleasers: 'Jesus Stole My Girlfriend', 'Muscle Junkie', their cover of God's 'My Pal', 'My Generation' (not The Who song), 'Son of Sam'... actually, they do have quite a number of good songs, don't they?

One other notable thing about their set: it was heart-warming (in a tough, masculine way) to see the band so clearly appreciative of the people who have been supportive of them through their four year existence, with many thanks going out to the other bands on the bill, the crowd, the venue, and Brisbane music supporters in general. This was best exemplified when the band leapt (quite literally) to the defense of some of their friends who were being ejected from the venue for being excessively rowdy (I guess). While the lead guitarist and bassist left the stage for a few minutes to negotiate with the bouncers and venue staff, the drummer and singer were left to entertain the crowd with the opening riff of 'Jesus Stole My Girlfriend' (I *think*) repeated ad infinitum. Eventually the rest of the band returned with the news that everything had been sorted out and that the perhaps overly enthusiastic audience members had been let back in. I can't think of another time where bouncers have changed their mind over such an incident, so kudos to both sides, and extra kudos to Violent Soho for not being tempted to have a go at the bouncers from the stage after the incident.

Eat Laser Scumbag were a last-minute addition to the lineup, with half the band coming up from Melbourne in order to play the show. Although the members Eat Laser were operating on various degrees of lack of sleep and a limited amount of rehearsal, for the most part you wouldn't have picked it. They sounded like they pretty much always did - lively punk rock that's a bit rough around the edges delivered by four guys who seem to be having a hell of a lot of fun on stage. Bassist Adam Scott provided some humour to procedings after a request came to from the audience for the removal of various clothing items from the band, in the end being the recipient of one young lady's underwear (hi Jess!). Even though they weren't the 'biggest' of the bands to play on the night, they were the perfect way to end things - songs that were energetic enough to capture people's attention even as the time crept towards 1am, a relaxed and fun vibe, and the return of one of Brisbane more loved groups.

I can't think of the last time I saw this many local bands putting on such great performances in the one evening. Luckily for you, you can either relive the evening (if you were there) or experience it for the first time (if you weren't) by heading over to Turn It Up To 10 and downloading the audience recordings of all five sets. Thanks Brendan!

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Thursday, 14 August 2008

No Anchor, Lawrence English, Innig, Secret Birds @ The Hangar (08.08.08)

This is the sort of night that The Hangar is made for. Four local acts with a central core aesthetic but that each have their own unique sound. Two of the bands were launching new albums - in one corner there was Lawrence English, the old stalwart and Brisbane's ordained king of all things glitchy and synthetic, while in the other corner were the new kids on the block (at least in terms of their current project, though in truth both members of the band have been a part Brisbane's music community for many years) in No Anchor.

Secret Birds started the night with gradually increasing volume. I've already written about this band a few times recently, so I'll keep this brief. The group on this occasion consisted of the seemingly regular guitarist and bassist, two drummers (this time being Susie of I Heart Hiroshima and Ross of The John Steel Singers) and a dude on keys and electronic noises (Tom Hall I believe, though I may be incorrect on that). Friday's set seemed to lean more on the band's recent fixation on classic rock noodling, instead of the more sludgy and 'experimental' sound that they showcased earlier on. Nonetheless, it was still a long way from Wilco, with plenty of repetition and noise which resulted in some slight prodding of the rock'n'roll envelope.

Innig followed, and it was my first time seeing them (indeed I'd never heard of them until they were announced on the lineup). After being warned off them with the remark 'they sound like what people who don't know what experimental music sounds like think experimental music sounds like', I decided to check them out regardless. And I didn't hate them. Far from it, in fact. While I didn't love them either, but they did their ambient soundscapes pretty well and provided an interesting atmosphere. They reminded me of the bits of Set Fire To Flames records where there are no strings, all scrapes and drones and quietly minimalist percussion.

Lawrence English was up next to launch his Kiri No Oto album (Kiri No Oto translates to 'Sound of Fog' in Japanese, a pretty apt moniker). Huddled over his machines to the side of the room, he started so subtly that I didn't even realise he'd started until 30 seconds into his set. Gradually the PA filled with layers of tones and drones and textures. The volume was wonderfully high, but the nature of the sounds English was producing was far more soothing than piercing. The end result was incredibly calming, and one look at people's faces around the room was enough to raise a smile; people staring blankly into space, people leaning back with their eyes closed, people with their heads resting in their hands. All totally still. All in a trance. I can't imagine that anyone would have attempted to have a conversation at that point in time, but it would have been a fruitless exercise if they had, so loud was the music coming from the speakers.

Towards the end of the set another sound entered the pallet that English had created - a cymbal wash. Turning to the main stage, one saw Alex Gillies of No Anchor adding extra texture to English's compositions. As Gillies began to increase the volume of his cymbals and added some tom rolls to the mix, Ian Rogers joined in on bass, strumming out a single chord with increasing vigour. As the band gradually began to overtake the electronic artist in volume, all noise suddenly stopped for a second or two before No Anchor launched into the extreme air-pushing power of 'The Seam', the closing track from their debut album 'Fire, Flood And Acid Mud'. It's about the most intense song you'll hear from ANY band this year, and here it was, blasting out from a couple of speakers and a drum-kit in a DIY venue in Red Hill. The rest of the set continued in kind, whether the band was playing breakneck punk songs ('A Complicated Web Of What-The-Fuck-Ever'), extended stoner-rock jams (the new song which I can't remember the title of) or the show-stopping 13 minute closer, 'Drone Me Out'. It wasn't a perfect performance - there were various times where the band stumbled for a moment or two before correcting themselves, and Rogers' Adam-King-esque mic technique meant that his vocals fluctuated wildly in the mix - but the band gave so much energy that it didn't really matter. They had the kind of intensity that only Turnpike, The Night Crash and To The North (and maybe Stature:Statue) have regularly displayed in recent years, which is no mean feat considering how lethargic their music can get at times. And it all ended with a touch of humour - Rogers looped the final riff of the 'Drone Me Out', while Gillies pushed over an item of his kit with each iteration of the riff. When one solitary cymbal remained, he picked it up and walked through the crowd and out of the room, playing it the whole time. Rogers remained for a few seconds before picking up his amp and attempting to follow... until the still-plugged-in power chord rudely stopped him in his tracks.


Full Disclosure: I recorded No Anchor's album. I did it after offering my services after seeing them play for the first time. I thought they were amazing then, I think they're even more amazing now. I don't think my recording their album affected my opinion of them in that regard, other than the fact that I have a pretty all-encompassing knowledge of the songs on their record.

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Monday, 30 June 2008

Weekly News - June 30th

So weekly might be a somewhat misleading title, but I'm going to try and get this back on schedule.

  • In case you've yet to hear, Brisbane has a new festival in the guise of Sounds Of Spring. The event will be held October 11 at the RNA Showgrounds. Unfortunately the first lineup doesn't excite me all that much, with only a smattering of interesting acts on the bill. Hopefully any forthcoming announcements can rectify this.
  • I'm not sure if I totally grasp the concept of Brisbane PARK(ing) Day, but from what I can tell it partially involves gigs being played in carparks. I'm all for this sort of thing, and if you are to then head over to the website to get involved. The actual day is September 19th so get in quick.
  • Room40 head honcho Lawrence English has a forthcoming album titled Kiri No Oto. The album is apparently an attempt to transpose "the visual effects of mist, mirage, snow fall and the like to a variety of acoustic situations."
  • Local imprint Mere Noise Records is now offering a number of past releases for purchase on iTunes. The label has released some great records from bands like Texas Tea, Butcher Birds, The Dangermen, and The Warm Guns.
  • New Music:
    • At Sea - Scream Like A Queen (Live): This is a damn good song; sounds like The Drones if Gareth Liddiard was a girl.
    • No Anchor - Drone Me Out Pt.1/Drone Me Out Pt.2/The Night Of My 2nd Car Crash: These three tracks are off No Anchor's forthcoming debut, Fire Flood And Acid Mud (which was recorded by Cam). For and band consisting of just bass and drums, No Anchor get a very impressive sound happening.
    • Mr. Rascal - Here Comes The Winter/Funeral Song/Ode To Peace: Mr Rascal also has an album due in the near future, and they're showcasing the songs on myspace at the moment. These three are all great little folk-rock numbers. 'Ode To Peace' is a standout with its mandolin/choir thing making it something like Radiohead's 'Exit Music (For A Film)'.
    • Do The Robot - Dressed In Red (Demo): Sounds like strawberry ice-cream.
    • The Fricken Hecks - Hot Kives/NIghtmare of Anne Stripe/For The Girls
    • Hot Liquid Sex - Emergency: From their debut EP Unexpect The Expected.

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